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ADOBE ADOBE Adobe Illustrator CS

assignment Aero will enable inventive executives and builders to design AR experiences and new types of immersive content material.

however, what makes it special is that for the primary time users can be in a position to design an conclusion-to-end AR experiences with little or no technical knowhow.

picture: Leonhard Foeger/Reuters

utility major Adobe, which shaped the design business internationally, is conceiving yet another online game changer that has capabilities to shape the way forward for augmented fact.

At Adobe MAX, its annual flagship event in la, the San Jose-headquartered enterprise gave a preview of its latest augmented reality developer device -- project Aero.

Augmented truth or AR is a pc know-how that lets builders superimpose digital objects on are living camera feed, giving the affect that the objects are really within the surrounding.

in spite of the fact that the know-how has been there for fairly some time, it's yet to make inroads into mainstream functions because of a lack of simplified utility and tools to increase it.

Adobe is planning to combine its other design sotfware reminiscent of Photoshop and Illustrator with Aero, such that pix created on these software are interoperable and can be used for AR at the click of a button.

project Aero will enable inventive executives and developers to design AR experiences and new styles of immersive content.

but, what makes it particular is that for the first time clients will be in a position to design an conclusion-to-end AR experiences with little or no technical knowhow.

"Adobe as a company has at all times embraced new storytelling mediums. even if it be print, laptop, net or cell, we now have all the time regarded around and built inventive platforms for the future," referred to Shanmugh Natarajan, managing director at Adobe India.

"Our intention with Aero is to establish a new discipline for immersive design and enable the advent of amazing AR experiences."

graphic: form courtesy, Wikimedia Commons

AR and its cousin VR, or digital truth, are applied sciences which have left the realm obsessing over them since late 2000s.

unlike VR, which wants a head-set, AR works on a cellular or pill monitor the usage of the camera on the gadget.

In essential phrases, AR is 'digital' and 'moving' object on the digital camera's video feed, true-time.

The difficult part is that the digital gadgets ought to stay where they are when the consumer moves the digital camera round.

With advances in computing vigor and programming, AR is starting to see adoption in streams like promoting, advertising, schooling, industrial working towards and so on.

UK-primarily based Blippar, an AR firm with engineering operations in Bengaluru, enables brands to advertise their items in a distinct way.

A person, looking at a grocery store, can element the mobilephone's digital camera at, say, a brand new variety of cheese, and may see its vitamins and minerals and different ingredients right on the mobilephone display.

in the training sector, tech businesses are setting up options in which worker's and engineers can element their phones in opposition t a chip circuit and notice the labels of its quite a lot of add-ons, during practising.

With challenge Aero, an attempt is being made to bring standardised formats and protocols.

"Full realisation of the expertise of AR requires a wide ecosystem. To that end, we are partnering with technology leaders to standardise interaction fashions and file codecs, and to deliver the inventive community with the equipment for growing in this all of a sudden advancing space," pointed out Adobe's Natarajan.

"We're working with open necessities efforts reminiscent of usdz and glTF, and main platform companies, at the side of Pixar, Apple, facebook, and Microsoft and the artistic community, to carry a finished AR offering."

The company stated, Aero is presently in beta stage and is accessible to clients on invite-only basis. Mass roll-out will turn up in 2019.

No outcomes found, are trying new keyword!Illustrator, InDesign) to every novice photographer, picture clothier, and creative knowledgeable. ADBE Market Cap records by YCharts What can't They Get Away With? In 2013, Adobe announced that it turned into c...

You like to draw. You’re a whiz at Adobe Illustrator. You create marvelous artwork that’s used for one client, one assignment. That’s excellent, however what if you could receives a commission on your paintings to appear on a whole line of break playing cards or posters or magazine illustrations—in all places the area? If that piqued your pastime, it’s time so that you can agree with inventory.

at this time, you should be would becould very well be a inventory contributor virgin. No worries. Adobe desires to assist you develop into a beginner, after which an expert just like the many talented illustrators whose work on Adobe inventory keeps on selling lots of, if now not thousands, of times. It’s some of the ironies of being an illustrator or photo fashion designer. You do it as soon as and sell it once. not like, say, Ralph Lauren or Donna Karan, who design whatever thing once and it sells hundreds of heaps of times.

we can’t promise that stock will make you as wealthy as a top designer, however can support complement your earnings very nicely. Mike McDonald, owner of a small New Jersey design studio, reports that he spends about ninety% of his time on client work and 10% on stock. “apparently, though,” he says, “about 40% of my revenue comes from stock.” one among Adobe’s top of the line-selling illustrators is a full-time artwork director at a California advert company. below the screen name “JungleOutThere,” she makes vectors “as a facet gig in my spare time” that promote over and over, year after 12 months; many greater than 5,000 times, some greater than 10,000 instances.

information out of your Future consumers

Adobe stock Vector Olive sample #130969421

image designer Sarai Bartels is a whiz at Illustrator, however she often finds herself studying and downloading stock. i do know this from personal experience; she grew to be my assistant soon after getting her BFA in verbal exchange Design from buy school, SUNY in 2010, and has been freelancing for me ever when you consider that—while working in-house at a activities advertising company; as senior dressmaker at a well-known PR enterprise; and now as a accomplice in her personal studio, honest artistic, within the Hudson Valley location of ny. Sarai is definitely, in reality decent at what she does, so why would she should buy stock vectors and illustrations?

right here’s a regular illustration: during this task for city Harvest, the biggest corporation that distributes food to hungry New Yorkers, her concept turned into to make use of a old olive sample in a variety of techniques. It may have been feasible to scan whatever identical from a publication, however there would had been no approach to govern the points. with the aid of downloading the vector file above, she become quite simply in a position to isolate the elements and overlap them, be a part of them, spread them apart, trade the colorings, and add a solid heritage.

“Why would I beginning from scratch when what i want already exists?” Sarai answers rhetorically. “I’m no longer going to attract common objects, like a fork for a cafe infographic or a sample for a historical past.” She’s now not relating to the leading design ideas, but to aspects like ornamental letterforms that can be modified so the inventory image turns into a helping element that enhances the theory.

Sarai says that when she finds an illustrator she likes on a inventory web site—“someone who does their vogue in reality smartly and continually”—she’ll stick with that artist. and of course she’ll want every file to healthy. I recently necessary an identical antique, woodcut-like vectors of a variety of fruits, berries, nuts and spices for a program for a nonprofit. I found a lot of lovely photographs, but very nearly nothing matched. as a result of they were made through distinctive artists, the road weights and traits have been all distinctive. irritating. It’s at all times wise to make sets of objects that “go collectively” purchasable.

in the gala invitation set under, Sarai superior the customer‘s theme, “The Renaissance of Healthcare” with the aid of beginning with ornamental initials and an ornate sample from Adobe inventory. because the artwork changed into created in Illustrator (Ai) and downloaded as a vector, the aspects can be readily isolated and repeated and the entire colours modified.

decorative letterform #167780640 and filigree pattern #162026499

For consumers like Sarai, budget is a factor—certainly when the customer is a small business or nonprofit organization. That’s where amazing inventory is primarily helpful. As an awful lot because the clothier would want to paintings direct customary work, the client is quite simply not going to pay for ornamental hand-lettering or a posh history pattern. Time is also an element. sometimes it’s simply no longer functional for the clothier to take some time to birth with a blank (metaphorical) canvas — specifically when the task is something like an e-blast or a news piece that’s got to go out the equal or next day.

loads of selections needed

When it’s an important venture like an identity program, a press kit with inserts, or an invite equipment, sensible creatives don’t download the first factor that comes up in a keyword search. They might also spend an hour or more gaining knowledge of every picture, attempting to find the ideal vector or illustration. For Sarai, whose purchasers include tourism agencies and nonprofits, universal keyword searches consist of ‘outdoors,’ ‘transportation,’ ‘cityscape,’ ‘architecture,’ ‘lodge,’ ‘endeavor,’ ‘camping,’ ‘restaurant,’ ‘schooling,’ and ‘economics.’

within the social gathering program (below) for metropolis Harvest, no longer best did the colors and relative positions of the constructing exchange, but many features were brought to make a special composition.

ny skyscrapers #97831526.

because the fashion designer of a quarterly magazine dedicated to native eating, she may wish beer steins and wineglasses for infographics on craft beers and vineyards, that are top-quality topics for a seek vector icons. The time and creativity will go into developing the constitution of the infographic and ensuring that facts is significant, no longer drawing the primary facets. but when it involves those features, there can under no circumstances be too many decisions.

Drawn smartly, Of path

It’s now not best the subject depend that makes a stock file perfect, it’s the trend and technique. here’s where which you could really make your mark. moreover learning what’s trending, check out design annuals and generic magazines and sites. Even web sites and brick-and-mortar stores like your native goal can be a very good useful resource. Pay attention to the type of patterns that art directors and shoppers seem to love, and create your personal twist on them.

“Drawn neatly” additionally refers back to the manner the file is developed. Backgrounds may still at all times be on a separate layer. Objects should be grouped to make it easy to isolate them. features that look like lines may still be strokes, now not shapes with fills, so the user can exchange the load. Patterns should still be seamless in order that they’re easy to scale and repeat.

For Sarai, maps are principally vital. For me, too. each of us can bear in mind nightmarish hours spent after downloading map artwork and discovering that every thing changed into on the identical layer and nothing was grouped. There went hours setting apart the water and land, the roads and the type.

Watercolor illustrations may also be captivating, however problematical. users love appealing watercolors, peculiarly of meals, nature, travel destinations, and holiday subjects, however be certain to scan them and add as JPEGs. Don’t are trying to change a scanned portray to vector: nobody can work with hundreds of thousands of dots. keep the heritage as white as possible and try no longer to overlap features so they may also be remoted and manipulated in Photoshop.

When can you start?

which you could start now. however what in the event you sell within the marketplace? What do consumers need? extra of every thing—every little thing that’s tasteful, sparkling, and constructive. in case you feel of yourself because the end person and reply the question, “what is going to make this drawing probably the most attractive, the least difficult to work with?” it’s obviously you’ll get pleasure from success. Texas-based mostly illustrator Natalia Hubert has had exquisite success with subjects she considers “primary to most of the up to date world,” including family, meals, nature, seasons, know-how, and style. She has fun with pin-up ladies and delusion characters, too, which are enduringly ordinary.

You can be intrigued with the chances Adobe inventory offers, and wondering how many illustrations you’ll should upload to peer an increase for your revenue. in line with Mike McDonald, a set of 300 to 400 pictures can herald reasonable revenue. “With 800 photos, income can in fact add as much as a doable income. Some new artists publish 10 to 20 pictures and get pissed off via low numbers. It takes time to construct a portfolio with work that’s in excessive demand,” he advises. “these early submissions aren’t going to generate lots, but they're going to lead you to discover income tendencies, what is going to promote. And don’t let a portfolio sit down idle. New photos need to be uploaded regularly to keep revenue.”

Your next Gig with Adobe

right now, Adobe is offering a different reward to its properly Adobe inventory contributors: a full yr of free Adobe creative Cloud to folks that’ve had 300 or greater items of content material permitted or have earned $500 or greater this yr. need to get there? “Be persistent,” Hubert advises, “create outstanding content, make as plenty use out of your base illustration as that you could by means of creating different variations and layouts.

in case you’re attracted to bringing your illustrations and vectors to a worldwide viewers of patrons, you could sign up to develop into an Adobe inventory contributor today—it’s free to sign in!

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This may seem really nerdy, but for productions that have people who write AppleScripts to deal with issues, having a powerful Unix regular expression text tool like grep solves a lot of problems. The above apostrophe find/replace would be done with the grep pattern “l’.”, meaning “match l’ and any following character.” If you have an entire phonebook of mistyped phone numbers that appear at the end of the line, it's dead simple to fix with grep:

Enlarge / Previewing the effects of my grep regular expression in the Patterns application. The "$" means "end of line" in grep.
The ability to open QuarkXPress files

This bit of reverse engineering didn’t work on later Quark documents, but most companies debating the switch were probably still on Quark 3 or 4. Output from those could be converted by InDesign. This ensured companies would lose a lot less time when migrating to Adobe's program.

Mac OS X support

Adobe knew this was a biggie, and it was way ahead with OS X support for InDesign.

Anti-aliasing of on-screen text

Considering this was the early 2000s, you got a much better feel for a printed page on a 1280x1024 screen with InDesign's anti-aliasing.

More text wrapping features and manually editable runarounds

The ability to tightly hone finicky runarounds was a big deal.

Nested style sheets

The value of this one also can't be overstated. It used a set of user-created rules to follow for things like formatted lists so you could do back-of-book content like indexes without manually setting each element:

All of the above is handled by one nested style sheet. If you made your living doing stuff like travel guides, this one feature alone was worth a year's salary and your firstborn.

Overprint preview and separations preview:
Previewing postscript overprints in InDesign CS—this would have been done by an expensive proof from your prepress house with QuarkXPress.

Since that could potentially put you over the ink limit for your paper—which causes smearing and can potentially break the paper on Web presses—InDesign CS also had an ink limit warning:

This was the beauty of InDesign CS: it gave you tons of creative tools, plus the technical tools to make sure you were within spec when trying those creative things. The stuff like nested stylesheets and grep gave you formulas to deal with repetitive tasks so you could spend more time being creative.

I know it seems excessive to cover this much of InDesign in an article about QuarkXPress—I probably look like an Adobe shill at this point—but it’s important to understand just how far ahead the competition was. This is the main reason Quark lost its dominant position in the print industry. To sum up how InDesign was received by big clients and how thoroughly it shamed QuarkXPress in every way, here is a lengthy quote from a former colleague of mine Denise "Ace" Williams who spent five years managing production for weekly newspapers that used Quark:

Quark 5 and OS9 was what we were used to, but it was pretty miserable. The things that stick out:

Restarting your computer and losing your unsaved work over software freezes was a regular part of your day. Like, many times a day.

We had all these crazy workarounds to achieve certain effects like drop shadows or change-and-repeat. It was all pretty rudimentary and hard to standardize across many designers in a department.

Shapes were pretty much a non-issue, so we had to do everything supplementary in Illustrator. Text and image display were awful. We printed to see what we were doing.

We were, of course, still importing images directly into boxes by browsing for files from Quark. [Quark only got drag and drop with version 8. Let me reiterate—8 as in “eight.” That’s not a typo.]

Those things are all quantifiable productivity sinks that should have been addressed in Quark 6, but Quark was so comfortable in its position of power that it missed its chance. It put out a mediocre release that forced everybody to upgrade just so they could have a few overdue meager enhancements like compatibility with OS X (for real, that was the big sell, as if it was a treat) and, I think, drag and drop image placement from a finder window. Maybe a drop shadow? The thing is, there could have been more, but nobody remembers stuff that doesn't impact their daily workflow. I think everyone who cared felt like they'd been disrespected by that release.

And then InDesign CS2 was released in 2004 or so, and I remember being at an AAN (Association of Alternative Newsmedia) conference in a room full of production managers from all over North America at a session comparing Quark 6 to the new InDesign. InDesign had so many beautiful, necessary features that it really felt like Adobe had locked users (like us, our people) in a room for a year until they came up with all the right ideas: stability, autosaves, shapes and paths, real image and type representation, drag-and-drop, customizable keyboard shortcuts, effects, repeats. All our habits had been supported and standardized and simplified.

We all actually got emotional. The room was nuts. The Quark reps were humiliated. It was so obvious that all this stuff was going to take the friction out of our departments, which sometimes moved up to 200 ads a day. I remember this PM from Brooklyn sitting beside me who grabbed my arm partway through the demo, and we actually held each other while we listened. CRAZY.

The thing is, the effort and risk of changing a whole company to a new piece of software is so great that that release still wouldn't have swayed us if Quark had actually done its job with Quark 6 and made a competitive update. But it didn't, and the time, job happiness, and financial implications of switching to CS2 were super crystal clear. Everybody did it.

I did it for the Santa Barbara Independent, and it was a months-long process of testing, file conversion preparation, and training to make sure that our conversion week wouldn't implode when it happened. But once you've switched, you're done. As Quark should have known in the first place, it's almost impossible to get people to go back again without a super compelling reason. Maybe they implemented all those awesome things in a later version, but we would never know.

That last line is really the clincher. Having lost its users who only begrudgingly endured it to begin with, Quark would never win them back with a few nice features because of the effort it takes to migrate publications.

The other factors in InDesign’s rise: Price and bundling

When I reviewed InDesign CS, I was also testing the waters to see if we would migrate our relatively simpler fashion magazine from QuarkXPress to InDesign. As if the feature set alone wasn’t enough to snag us, take a look at the prices back then:

Adding insult to injury, InDesign CS shipped with all the language features of QuarkXPress Passport. And things got even worse for Quark when, in 2003, you could get InDesign as part of the newly introduced Creative Suite Bundle, which as a publisher or graphic designer, you would have probably bought anyway for Photoshop and Illustrator. You were basically getting InDesign for free—it was a Trojan horse in the bundle box, and I think it really sealed the deal for people on the fence about the switch. The fall of Quark could just as easily read “the very smart business dealings of Adobe.”

A steady path to ruin

In the face of all this innovation and competitive pricing from Adobe, Quark blindly continued to charge too much for upgrades, pretending like nothing had changed. The company offered more meager upgrades at too-high prices and still charged a ridiculous amount for a multi-language version. For our mag, there was no Canadian English version of QuarkXPress ever. When I reviewed InDesign CS1, it also didn’t have one, but this support was eventually added—Adobe fought to win over every user with early versions of InDesign, and it showed. It took Quark until version 7 to add Opentype, Unicode support, PDF-X, and transparency. To repeat that: it took until 2006 for XPress to finally do transparency—without overprints or tricks that meant trips to a PostScript laser printer to see.

To be fair, QuarkXPress did have areas of strength. It had a lead on InDesign in terms of Web support and output. While InDesign stormed ahead with features that appealed to designers and art directors, Quark made a go at including Web features in XPress. The convergence of media was a no-brainer, and I knew of one art director who used Quark for both his magazine output and the Web version of his magazine.

But it was a kind of nuts-and-bolts addition that seemed hard to love for people who loved print. The Web at that time was not the sexy CSS and live-type beast it is now. Instead, InDesign succeeded at getting people excited by the improved and creative print design that you could do, not the fact that you could spit it out for the lesser medium that you begrudgingly knew would eventually put you out of business. I’m sure there were many designers that were excited by the Web, and I had enough time to learn to code and do some interactive Flash stuff. But if you’ve ever lovingly designed a gate-fold double 10-inch LP or leafed through the exquisite, multi-plate and custom-paper pages of IDEA Magazine, it’s hard to get excited by the scratchy window of a jewel-cased CD. The Web was even less attractive in the early 2000s. So giving us features for the Web was a bit like handing an oil painter a box of Corel Painter. Telling them “this is the future” doesn’t make it suck any less compared to what you had before.

Quark also clearly avoided features that treaded the same ground as InDesign, which the company probably thought would confirm its status as the more full-featured program. So Quark 8’s new tools focused on trying to tie press workflows to user workflows to eliminate the need for preflighting, but it was a complicated process that, if you tried to use on a regular basis, would have distracted you by false positives while you should just be doing layouts with decent tools.

InDesign Creative Cloud: Echoes of Quark

All this love for InDesign could be read as a ringing endorsement for the current versions of Adobe’s flagship layout program, but that’s definitely not the case. InDesign is not perfect, and Adobe’s abysmal Creative Cloud license policy has really shown the company's true colors when it comes to exploiting monopoly.

With my main magazine contract, we tried to make the switch from InDesign CS5 to CS6 because we, like everyone else, wanted to avoid hooking up to the great wallet-milking machine that is the Creative Cloud rental model. Quickly, it became clear that this couldn’t happen. The application crashed a ton when linking Incopy text, a problem reported in CS5.5. But Adobe apparently couldn’t have been bothered to fix it, and I’m sure it’s probably getting plenty of attention now that Adobe holds the keys to InDesign Creative Cloud documents. Sound familiar? A leading company gets too comfortable and stops paying attention. The shoe is apparently on the other foot now. Like the XPress days of yore, our publication is using InDesign (CS5) to avoid a company's cash-grab. Adding insult to injury, today's InDesign still lacks an alien that can zap my text boxes with flair:

Those last QuarkXPress holdouts don’t seem so shortsighted these days. Unless Adobe changes its path of user neglect and profit at all costs, some of us could be joining forces with the aliens yet again. Hopefully, QuarkXPress’ demise is one big lesson that all software publishers, no matter how dominant, have internalized: listen to your users and respect them.

A security and stability update has been released for Adobe Illustrator CS5, fixing a DLL preloading vulnerability which could be exploited to execute arbitrary code.

Also known as DLL hijacking, binary planting or DLL side loading, this type of vulnerability stems from the use of an insecure search path by some library loading functions.

When a DLL is called by a program without specifying its full path, the operating system automatically searches for it in a series of predefined places in order.

The DLL call usually happens when a particular action is performed in the program, such as opening a certain file, and in many cases, the working directory takes precedence in the search path.

This type of weakness began being publicly discussed a few months back and hundreds of applications, including some of the most popular ones, were deemed vulnerable.

Some of them called a Vista or 7-only DLL when running on Windows XP, which allowed for a rogue file with the same name to be placed in the working dir and get executed.

Since files can be loaded directly from network shares or WebDAV resources, this arbitrary code execution condition also has a remote attack vector.

The vulnerability in Adobe Illustrator CS5 is identified as CVE-2010-3152 and Adobe rates it as “important.” Users of Illustrator CS 15.0.1 or earlier are strongly advised to install the 15.0.2 update as soon as possible.

In addition to the security content, this update contains a series of other bug fixes as well. These are as follows:

- PSD files lose saturation of spot colors when imported into AiCS5

- Performance problems when guides are set to dot

- Acrobat 10 documents with passwords fail to open

- Improved precision with DXF import

- Links are broken in legacy formats when image name contains Japanese characters for voiced sound marks

Illustrator CS can open files in more than two dozen formats, in more than 50 different versions. The full list is shown in Figure 3.34. (Keep in mind that not all features of all formats are preserved in Illustrator.) The default (All Readable Documents) shows all files Illustrator can open. Selecting a specific format can make it easier to find the file you need.

Figure 3.34 This is the Show pop-up menu from Illustrator CS's Open dialog box.

Placing Files into Illustrator Documents

One of the two ways that you can place artwork in an Illustrator document from another file is linking. A linked image remains separate from the document to which it is linked. This is somewhat similar to a hyperlink for the Web; only a pointer is placed in your illustration, and the external image is loaded when your file is opened. Illustrator notifies you if any changes have been made to the original. Keep in mind, though, that your image must always be able to find the external artwork. If you were, for example, to send out your image on disk without including a copy of the linked file, the linked artwork would not be available to anyone opening your image from the disk—a warning dialog box would appear. The Save As command (and Save the first time it is used) allows you the option of including linked files.

Embedding is the other way to include artwork from another file in an Illustrator document. When you embed an image, a copy of the artwork is incorporated into your Illustrator document. You are not notified of any changes to the original artwork, and the only way to update the embedded image is to replace it. The advantage is that the placed artwork becomes part of your Illustrator document, and it doesn't have a link that can be accidentally broken. The Illustrator document's size increases by the size of the placed artwork.

Illustrator can place files of any format that it can open, with the exception of the Illustrator (AI) format. The formats in the following list, however, must be embedded rather than linked:

CGM

DOC

DXF/DWG

Freehand

RTF

SVG

WMF

File Formats Available Under Save As

The Save As dialog box offers six file formats from which to choose:

Adobe Illustrator Document (.ai)—This is the native file format for Adobe Illustrator. It supports all the features of the program. However, earlier versions also use the .ai file extension and do not support all the features of Illustrator CS.

Illustrator offers you several options when saving a file in its native format. You can see them in the dialog box shown in Figure 3.35.

Figure 3.35 After you select a name and location for a file and click OK, this dialog box opens.

Illustrator EPS (.eps)—PostScript is a page description language developed by Adobe. Encapsulated PostScript (EPS), like PDF, supports both vector and raster information. EPS is often used to put a graphic element into a page layout program. Typically, the EPS file is an image on a page, but it can be a complete page as well.

EPS files can contain previews that are visible in a page layout program. When no preview is present, a placeholder (a box with two crossing diagonal lines) is shown on the page. Macintosh previews are available in PICT (Macintosh) or TIFF format, and either can be 1-bit (black and white) or 8-bit (color). Windows EPS files can have previews in TIFF or Windows Metafile (WMF) format.

In addition to choosing the file format, you can opt to have transparency for TIFF previews in the EPS Format Options dialog box (see Figure 3.36).

NOTE

Remember that you use the Export command in Illustrator CS to create Illustrator documents compatible with earlier versions of the program.

TIP

Because TIFF previews are compatible with both Windows and Macintosh, you should choose this option when saving as an EPS file. Also, although the 8-bit color preview will increase the file size slightly, you should choose it rather than the 1-bit black-and-white version.

Figure 3.36 Illustrator CS gives you greater control over EPS images than did prior versions.

Illustrator Template (.ait)—Templates can be created to give you a head start on recurring projects or layouts. Illustrator CS ships with over 200 ready-made templates (inside the Illustrator folder, in a folder named Templates). You can also create custom templates to fit your work. Open or create a document, set it up the way you want things to be when you start a similar document, and save it as an Illustrator template. When you open a template, you're creating a new, untitled Illustrator document. Think of templates as unlimited custom Startup files. Here are the customizable features of templates:

Artboard and document sizes and layouts.

The opening document view, including zoom, position of the artboard in the window, and ruler point of origin.

View menu options, including guides, rulers, and the various Show/Hide choices.

You can add any artwork to the artboard that you want to include in any project you start with this template—copyright information, the company logo, even artwork you'll use only sometimes. (After opening the template, you can delete any default artwork.)

NOTE

Like the Illustrator file format, EPS files compatible with earlier versions of Illustrator are created with the Export command.

NOTE

The Illustrator template format also generates two new commands in the File menu: Save as Template (which is the same as using the Save As command and selecting Illustrator Template as the file format) and New from Template (which is the same as using the Open command and selecting a template). These two commands are simple conveniences that can be very handy when working with templates.

Illustrator PDF (.pdf)—The native format of Adobe Acrobat, PDF files are now very common. Acrobat Reader can be found on most modern computers and is freely available for others. Documents saved in PDF format can be viewed on almost any computer.

PDF files support both vector and raster (bitmap) information. Although PDF pages are PostScript at heart, they can also contain annotations and notes and can be searched and hold hyperlinks.

Illustrator CS's PDF Options dialog box offers five panels of options, most of which are comparable to Acrobat's options. You can select ODF security, image compression and downsampling, font embedding and subsetting, and ICC profile embedding. You can also specify printer's marks and bleeds. What's more, when Acrobat 6 compatibility is selected, you have the option of creating PDF layers from the top-level Illustrator layers.

TIP

Before saving complex illustrations as PDF files, you can take an extra step to help preserve the appearance of your image and ensure problem-free printing. Working on a copy of your original, open the Layers palette. From the palette menu (the little triangle in the upper-right corner of the palette), select Flatten Artwork. You can then save the file in PDF format with its original appearance intact.

SVG (.svg)—Scalable Vector Graphics files are used on the World Wide Web. When saving in this format, you have the option of including part of a font or the entire font. Any placed images can be embedded or linked. You can retain the capability of editing the image in Illustrator if necessary. When you click the Advanced button, you'll see the additional options shown in Figure 3.37.

SVG Compressed (.svgz)—The options for this file format are identical to those for the standard SVG format. The compressed version of the format is not supported by all SVG plug-ins.

Export

In addition to the three primary file formats and SVG available in the Save As dialog box, Illustrator offers a variety of export formats. The default file formats that you can create with the Export command are shown in Figure 3.38.

Figure 3.38 Any of these formats you are unlikely to ever need can be deleted from the Photoshop Formats folder, found within Illustrator's Plug-ins folder.

A number of Illustrator's export formats require rasterization (conversion to pixels) before you save the file. The Rasterize Options dialog box is shown in Figure 3.39.

Figure 3.39 CMYK, RGB, Grayscale, and Bitmap color modes are supported, depending on the selected file format, as well as choices of resolution and antialiasing.

AutoCAD Interchange File (.dxf)—This file format is used to exchange information between AutoCAD and programs that do not support the DWG format. From Illustrator, it can also be used to exchange information with those programs. When you're working directly with AutoCAD, however, DWG is usually a better choice. DXF is a tagged format. The dialog box is identical to the one shown in Figure 3.40.

Figure 3.40 AutoCAD version, bit depth, and raster format for fills and textures are among the choices for the DWG format.

Figure 3.41 The Run Length Encoding (RLE) compression option is not always available.

Enhanced Metafile (.emf)—An advanced version of Microsoft's Windows Metafile (.wmf) format, EMF is available only for 32-bit Windows. The export function has no user-defined options.

Illustrator Legacy (.ai)—You can create AI files compatible with earlier version of Illustrator using the Export command. You can generate files suitable for Illustrator 10, 9, 8, and the English and Japanese versions of Illustrator 3. The options shown in Figure 3.42 will vary, depending on which version is selected in the pop-up menu at the top.

Illustrator Legacy EPS (.eps)—Just as you use the Export command to generate Illustrator files compatible with earlier versions of the program, so, too, do you use Export to create legacy EPS files. The options are shown in Figure 3.43.

JPEG (.jpg)—One of the two main file formats on the Web, JPEG is a 24-bit file format best suited for photographs and other continuous-tone images. In addition to Export, JPEG is available through Illustrator's Save for Web feature. The JPEG Options dialog box, shown in Figure 3.44, offers choices of quality/file size, (using a scale of 1 to 10), baseline or progressive downloading, image resolution, antialiasing, ICC profile embedding, and image map management (for Internet links). More information is available in Chapter 37, "Illustrator and the Web."

NOTE

The term bitmap is used generically to refer to any raster image and can also be used to refer to the 1-bit color mode, in which every pixel is either black or white. To avoid confusion, the file format is generally referred to as "BMP."

Figure 3.42 The Transparency section of the dialog box is used only for versions of Illustrator that do not support transparency natively.

Figure 3.43 This dialog box is a hybrid of the EPS Options and the Illustrator Legacy Options dialog boxes.

Macintosh PICT (.pct)—PICT supports both raster and vector artwork. However, should you reopen a PCT file in Illustrator, you may find that the vectors have not been preserved in the original format. Don't export to PICT if you intend to further edit the artwork later.

Macromedia Flash (.swf)—Although not the native Flash format, SWF fulfills the need for a vector-based, interactive file format. SWF is actually the Shockwave file format. (Flash's FLA is a proprietary format controlled by Macromedia.) SWF is a Web format, but viewers must use a browser equipped with the Flash plug-in. Figure 3.45 shows the dialog box for Flash (SWF) Format Options.

Figure 3.44 Download method and image map management are relevant only to images destined for the Web.

Figure 3.45 You can export the image as a single SWF file, a series of animation frames, or as a series of SWF files.

Photoshop (.psd)—Layered Illustrator documents can be exported to Photoshop with layers intact. You can choose compatibility with recent versions of Photoshop, or you can export a file that can be read by Photoshop 5.5. You have the option of color mode (RGB, CMYK, or Grayscale), resolution, and whether to flatten layers or retain them. Figure 3.46 shows the Photoshop Export Options dialog box.

Portable Network Graphics (.png)—The PNG file format is a raster image format used on the Web. It offers lossless compression to preserve image quality. When exporting a file as PNG from Illustrator CS, you can specify resolution and either a transparent background or a colored background (see Figure 3.47).

Figure 3.46 With layers and editability selected, "type on a path" can be edited in Photoshop CS (but not previous versions).

Figure 3.47 Selecting Other as a background color opens a small Color Picker that enables you to match the background of a Web page.

Targa (.tga)—Targa files can be used with digital video programs, such as Adobe Premiere and AfterEffects. Artwork is automatically rasterized (refer to Figure 3.39) when saved as Targa. TGA supports RGB and Grayscale color modes.

Text (.txt)—This "plain text" format is a most basic text format. It is a suitable choice when you need to move text to a word processor without fancy formatting. Such options as baseline shift and character scaling will be ignored.

Tagged Image File Format (.tif)—TIFF (as the file format is known) is among the most common raster image formats. In addition to image-editing programs, many scanners produce TIFF files. This format is among the most common for placing rasterized images into page layout programs. In addition to the settings shown in the Rasterize Options dialog box (refer to Figure 3.39), the TIFF options include LZW compression settings and ICC profile embedding.

Windows Metafile (.wmf)—The basic file format of clip art from Microsoft Office for Windows (among other programs), WMF is a vector format. There are no options for exporting to WMF format.